Black Artists HISTORY YOUTH Untitled (Boxer) 1982, BLACK ARTISTS THROUGH HISTORY, LESSON 5 Acrylic and (Untitled) Boxer by Jean-Michel Basquiat, 1982 Crayon

Total Page:16

File Type:pdf, Size:1020Kb

Black Artists HISTORY YOUTH Untitled (Boxer) 1982, BLACK ARTISTS THROUGH HISTORY, LESSON 5 Acrylic and (Untitled) Boxer by Jean-Michel Basquiat, 1982 Crayon through ENRICHING Black Artists HISTORY YOUTH Untitled (Boxer) 1982, BLACK ARTISTS THROUGH HISTORY, LESSON 5 Acrylic and (Untitled) Boxer by Jean-Michel Basquiat, 1982 Crayon. 75.98” x 94.09” - 1- This painting, which depicts a black boxer in the foreground of a white graffiti-filled Neo-Expres- backdrop, was sold at auction for $13.5 million in 2008. It had been held as part of the private sionism. collection of Lars Ulrich, the drummer for the heavy metal band Metallica, who decided to sell this painting along with Basquiat’s other masterpiece Profit I in order to raise funds to build a Facts about artist house for his family. Jean-Michel Basquiat, born 2- This painting is a typical example of Basquiat’s bold graffiti style, used to enhance a heroic in 1960 and died art piece into a full examination of the character’s figure and stance, from the skeleton-like 1988: smile to the disfigured muscles in the arms and laces of the boxing gloves. 1- Born in Brook- 3- Jean-Michel Basquiat canonized Louis and other black boxing heroes in his paintings, de- lyn to Haitian and picting crowns or haloes circling their heads, as demonstrated by the suggestive halo form that Puerto Rican par- arises from the head of the Boxer. In fact, some art critics consider the outstretched arms as a ents, Basquiat grew resemblance to Christ’s upon the cross, while the halo might morph into a crown of thorns. up in New York City where he confronted 4- The upraised arms of the boxer in this painting invoke not only the victorious stance of the racism and learned firsthand the realities of the winner of a boxing match, but also a doubling of the raised fist of the Black Power salute. This socio-economic struggle of the working class. gesture was famously on display at the 1968 Olympics, when American victors Tommie Smith and John Carlos made a powerful statement of solidarity with the Civil Rights movement by 2- Basquiat’s art could be summarized in one of his quotes: “I don’t think about art when I’m raising their fists when receiving their medals at the podium. Note the KO (knockout) letters working. I try to think about life.”. by the boxer’s right hand. 3- After growing up as part of a middle-class 5- By the time he painted the Untitled (Boxer), Basquiat attained the financial success that al- family in Brooklyn, at age seventeen, he head- lowed him to obtain professional art materials as well as a studio space, where for the first time ed to downtown Manhattan to drift between he could create large-scale works such as the present painting. However, he remained acutely friends’ apartments and abandoned warehous- aware of the imbalance of power in the art world in which he triumphed. es for a period, making his mark with spray paint, while setting his sights firmly on making Basquiat & Warhol: it in the New York art world. He started his career by spray-painting enigmatic slogans and symbols on city streets, coded criticisms of contemporary culture that set him apart from the colorful graffiti tags that predominated at the time. 4- As a child, he would visit the Brooklyn Mu- seum of Art, not far from his home in Boerum Hill. “I realized that I didn’t see many paintings with black people in them,” he noted. Jean-Michel Basquiat & Andy Untitled - Basquiat & Warhol Warhol pose at the gallery. collaboration, 1987 5- In a 1983 interview, he defined the subject of 6- Basquiat saw himself in this world as a defiant warrior who had risen from the streets his art as “Royalty, heroism and the streets.” through sheer tenacity and talent, a role he played out in an explicit yet humorous way in the 6- Basquiat celebrated many heroes of black photos where he posed as a prize-fighter with Andy Warhol to advertise the artistic collabora- history in his works, particularly athletes and tion of these art-world champions. musicians. He identified with their personal struggles and inner demons. Basquiat read 7- Basquiat and Warhol became close friends and collaborated in poainting, such as the unti- extensively about these athletes, and was very tled piece featuring Basquiat’s cartoonish depiction of a vibrant-red human stomach alongside well informed about the details of their lives Warhol’s skull and crossbones, which recalls Warehol’s silkscreen-and-paint “Skulls” series. and achievements, which he translated into his painting. 8- Warhol and Basquiat’s relationship has been described as a symbiotic one: Basquiat relied on Warhol to both bolster his name and help him navigate his newfound celebrity; Warhol, in 7- Basquiat had exhibits in New York, Los turn, capitalized on Basquiat’s youthful energy to revitalize his image as an art-world rebel. Angeles, Zurich, Rome and Rotterdam. He was also the youngest artist ever, 21 years old, to Activity: After studying the Untitled (Boxer), print the B&W outline and color it to match the be included in the prestigious Documenta 7 artist’s rendering -or in your own style. I encourage you to use multi-media. exhibition in West Germany 2020© BlueBeard Creative ENRICHING YOUTH ENRICHING YOUTH.
Recommended publications
  • Nov 2014 Dummy.Indd
    NOVEMBERJULY 20102014 •• TAXITAXI INSIDERINSIDER •• PAGEPAGE 11 INSIDER VOL. 15, NO. 11 “The Voice of the NYC Transportation Industry.” NOVEMBER 2014 Letters Start on Page 3 EDITORIAL • By David Pollack Insider News Page 5 • Taxi Drivers and Ebola Updated Relief Stands Thankfully there is a radio show where you can Taxi Dave (that’s me!) not only had the Chairwoman get fi rst hand information needed to answer any of of the TLC, Meera Joshi discuss fears of the Ebola Page 6 your questions whether industry related or even virus, but I had Dr. Jay Varma, a spokesperson from • health related. the NYC Department of Health answering all ques- Taxi Attorney Before we get into Ebola, TLC Chair- tions that drivers brought to “Taxi Dave’s” By Michael Spevack woman Joshi stated that the TLC will attention. How does Ebola spread? What be sending out warning letters to drivers is the best means of prevention and pro- Page 7 instead of summonses for a red light tection? • camera offense. “Vision Zero is not Chairwoman Joshi stated, “Thank you How I Became A Star about penalties,” she stated. To hear this for reaching out to the Department of By Abe Mittleman and much more, listen to this link: http:// Health. The myth of how Ebola spreads is www.wor710.com/media/podcast-the- spreading incredibly faster than the actual Page 15 taxi-dave-show-TaxiInsider/the-taxi-dave- disease ever could. It is really important to • show-102614-25479519/ separate facts from fi ction and the Depart- Street Talk Folks, if you want fi rst hand infor- ment of Health has been doing an amazing By Erhan Tuncel mation, every Sunday evening at 8:00 job in getting that message out there and PM listen to WOR-710 radio to TAXI DAVE.
    [Show full text]
  • Jeanmichel Basquiat: an Analysis of Nine Paintings
    Jean­Michel Basquiat: An Analysis of Nine Paintings By Michael Dragovic This paper was written for History 397: History, Memory, Representation. The course was taught by Professor Akiko Takenaka in Winter 2009. Jean‐Michel Basquiat’s incendiary career and rise to fame during the 1980s was unprecedented in the world of art. Even more exceptional, he is the only black painter to have achieved such mystic celebrity status. The former graffiti sprayer whose art is inextricable from the backdrop of New York City streets penetrated the global art scene with unparalleled quickness. His work arrested the attention of big‐ shot art dealers such as Bruno Bischofberger, Mary Boone, and Anina Nosei, while captivating a vast audience ranging from vagabonds to high society. His paintings are often compared to primitive tribal drawings and to kindergarten scribbles, but these comparisons are meant to underscore the works’ raw innocence and tone of authenticity akin to the primitivism of Henri Matisse, Pablo Picasso, Cy Twombly or, perhaps, even that of the infant mind. Be that as it may, there is nothing juvenile about the communicative power of Basquiat’s work. His paintings depict the physical and the abstract to express themes as varied as drug abuse, bigotry, jazz, capitalism, and mortality. What seem to be the most pervasive throughout his paintings are themes of racial and socioeconomic inequality and the degradation of life that accompanies this. After examining several key paintings from Basquiat’s brief but illustrious career, the emphasis on specific visual and textual imagery within and among these paintings coalesces as a marked—and often scathing— social commentary.
    [Show full text]
  • Hand Gestures
    L2/16-308 More hand gestures To: UTC From: Peter Edberg, Emoji Subcommittee Date: 2016-10-31 Proposed characters Tier 1: Two often-requested signs (ILY, Shaka, ILY), and three to complete the finger-counting sets for 1-3 ​ (North American and European system). None of these are known to have offensive connotations. HAND SIGN SHAKA ● Shaka sign ​ ● ASL sign for letter ‘Y’ ● Can signify “Aloha spirit”, surfing, “hang loose” ● On Emojipedia top requests list, but requests have dropped off ​ ​ ● 90°-rotated version of CALL ME HAND, but EmojiXpress has received requests for SHAKA specifically, noting that CALL ME HAND does not fulfill need HAND SIGN ILY ● ASL sign for “I love you” (combines signs for I, L, Y), has moved into ​ ​ mainstream use ● On Emojipedia top requests list ​ HAND WITH THUMB AND INDEX FINGER EXTENDED ● Finger-counting 2, European style ● ASL sign for letter ‘L’ ● Sign for “loser” ● In Montenegro, sign for the Liberal party ● In Philippines, sign used by supporters of Corazon Aquino ● See Wikipedia entry ​ ​ HAND WITH THUMB AND FIRST TWO FINGERS EXTENDED ● Finger-counting 3, European style ● UAE: Win, victory, love = work ethic, success, love of nation (see separate proposal L2/16-071, which is the source of the information ​ ​ below about this gesture, and also the source of the images at left) ● Representation for Ctrl-Alt-Del on Windows systems ● Serbian “три прста” (tri prsta), symbol of Serbian identity ​ ​ ● Germanic “Schwurhand”, sign for swearing an oath ​ ​ ● Indication in sports of successful 3-point shot (basketball), 3 successive goals (soccer), etc. HAND WITH FIRST THREE FINGERS EXTENDED ● Finger-counting 3, North American style ● ASL sign for letter ‘W’ ● Scout sign (Boy/Girl Scouts) is similar, has fingers together ​ Tier 2: Complete the finger-counting sets for 4-5, plus some less-requested hand signs.
    [Show full text]
  • Andy Warhol Exhibit American Fare Summer Sets
    NYC ® Monthly JULY 2015 JULY 2015 JULY NYC MONTHLY.COM VOL. 5 NO.7 VOL. AMERICAN FARE AMERICAN CUISINE AT ITS FINEST SUMMER SETS HEADLINING ACTS YOU CAN'T MISS ANDY WARHOL EXHIBIT AT THE MUSEUM OF MODERN ART B:13.125” T:12.875” C M Y K S:12.75” The Next Big Thing Is Here lated. Appearance of device may vary. B:9.3125” S:8.9375” T:9.0625” The world’s frst dual-curved smartphone display Available now. Learn more at Samsung.com/GS6 ©2015 Samsung Electronics America, Inc. and Galaxy S are trademarks of Co., Ltd. Screen images simu FS:6.3125” FS:6.3125” F:6.4375” F:6.4375” 304653rga03_HmptMnthy TL Project Title: US - GS6_2015_S5053 Job Number: S5053 Executive Creative Director: None E.C.D. C.D. A.C.D A.D. C.W. Creative Director: None Client: SAMSUNG Bleed: 13.125” x 9.3125” Associate Creative Director: None Media: MAGAZINE Trim 1: 12.875” x 9.0625” Art Director: None Photographer: None Trim 2: None Copywriter: None Art Buyer: None STUDIO PRODUCTION IA PRODUCER ACCOUNT EX. ART BUYER Illustrator: None Live: 12.75” x 8.9375” Print Production: None Insertion Date: None Gutter: 0.125” Studio Manager: None Account Executive: None Traffic: None Publications/Delivery Company: Hamptons Monthly FILE IS BUILT AT: 100% THIS PRINT-OUT IS NOT FOR COLOR. 350 West 39th Street New York, NY 10018 212.946.4000 Round: 1 Version: C PACIFIC DIGITAL IMAGE • 333 Broadway, San Francisco CA 94133 • 415.274.7234 • www.pacdigital.com Filename:304653rga03_HmptMnthy.pdf_wf02 Operator:SpoolServer Time:13:37:40 Colors:Cyan, Magenta, Yellow, Black Date:15-05-06 NOTE TO RECIPIENT: This file is processed using a Prinergy Workflow System with an Adobe Postscript Level 3 RIP.
    [Show full text]
  • Spectator 1960-02-12 Editors of the Ps Ectator
    Seattle nivU ersity ScholarWorks @ SeattleU The peS ctator 2-12-1960 Spectator 1960-02-12 Editors of The pS ectator Follow this and additional works at: http://scholarworks.seattleu.edu/spectator Recommended Citation Editors of The peS ctator, "Spectator 1960-02-12" (1960). The Spectator. 664. http://scholarworks.seattleu.edu/spectator/664 This Newspaper is brought to you for free and open access by ScholarWorks @ SeattleU. It has been accepted for inclusion in The peS ctator by an authorized administrator of ScholarWorks @ SeattleU. the News School Edition "All U.S. WEATHER BUREAU REPORT PORCCAtTI Cloudy, occasional rain today; showers. That's Fit to Print" partial clearing tonight. Wtnda to TheS. A.spectator 13-30. Temp, range: 52-38 ' Washington,Friday,February12, 1960 ■ 7O 15 Volume XXVII Seattle, "**££s* No. PRIVATE SCHOOLS AMERICAN JESUIT DISCUSSION TOPIC INROMEPENSTIPS ABOUTTHEWORLD FOR U.S. VISITORS Father William Dunne Describes Tourists at '60 Olympic Ganes U.S. Private SchoolEducation Advised to ClutchTheir Lire As 'Truly Big Business' and BewarePadded Checks A transcript of Father Dunne's tal\ is SPORTS VOCABULARY GIVEN printed on Page 4. BY FRAN FARRELL Art to Be Mixed With Olimpiadi; in Private education in the United Boxers Marble and Bronze ;States was described as "big busi- Among'Athletic' Treasures ness" by Rev. William Dunne, S.J., Rev. Francis Lindekugel executive secretary of the National Head of Theology Department A description of S.U.s Sumrne> Euro' Catholic Education Association, in peart tour is printed on Pag* 7. an address to S.U. alumni at the school's homecoming luncheon. By REV.
    [Show full text]
  • Andy Warhol@Christie's
    P R E S S R E L E A S E | W O R L D W I D E ONLINE AUCTION: 4 - 11 SEPTEMBER, 2014 ANDY WARHOL@CHRISTIE’S American Pastimes: Sports & Politics ONLINE-ONLY SALE TO BENEFIT THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS ANDY WARHOL (1928-1987) ANDY WARHOL (1928-1987) ANDY WARHOL (1928-1987) Red Lenin (F. & S. II.403) Muhammad Ali (F. & S. II.181) Mao (F. & S. II.125A) screenprint in colors on paper, a trial screenprint in colors on paper screenprint in colors on wallpaper, proof, presumably unique in this 40 x 30 in. (101.6 x 76.2 cm.) 38 7/8 x 29 3/8 in. (98.7 x 74.6 cm.) composition Executed in 1978. Executed in 1974. 39¼ x 29 3/8 in. (99.7 x 74.6 cm.) Estimate: $15,000-20,000 Estimate: $20,000-30,000 Executed in 1987. Estimate: $60,000-80,000 Bidding Opens: Thursday, September 4th at 12 p.m. Bidding Closes: Tuesday, September 11th at 12 p.m. New York/London/Paris/Hong Kong/Dubai – Christie’s is pleased to announce Andy Warhol @ Christie’s: American Pastimes: Sports & Politics, an online-only sale that gives collectors a glimpse into Warhol’s relationships throughout his career with many leading sports and political figures. This sale features his iconic images from all 10 athletes in the athletes’ portfolio as well as many works he created to support politicians’ campaigns he believed in including Jimmy Carter, JFK, and Carter Burden. Highlights of the online sale include the iconic red Lenin print, Mao wallpaper, and a print impression of Muhammad Ali’s fist.
    [Show full text]
  • PRESS RELEASE Presents Top of The
    PRESS RELEASE For Immediate Release Presents Top of the Pop Live on artnet Auctions from February 18 through 27, 2014 Roy Lichtenstein Sweet Dreams Baby!, 1965 Screenprint 35.63 x 25.56 in. 90.5 x 64.9 cm. Signed and numbered Edition 49/200 Est. US$100,000-125,000 New York / Berlin, February 19, 2014—artnet Auctions is pleased to announce the highly anticipated Top of the Pop print sale, which features over 50 classic Pop prints by artists such as Andy Warhol, Roy Lichtenstein, Robert Indiana, Robert Rauschenberg, and Tom Wesselmann. This dazzling, curated selection of iconic Pop prints is perfect for both new and seasoned Pop Art collectors. Among the sale’s highlights is one of the most famous Pop prints of all time, Roy Lichtenstein’s 1965 Sweet Dreams Baby!, estimated at US$100,000 to 125,000. With its irreverent comic book character on the business end of a knock-out punch, Lichtenstein challenges the reigning Abstract Expressionist movement’s anti-figure aesthetic and emotional intensity, and instead finds inspiration in the popular press. Another Lichtenstein print in the sale, Foot and Hand (1964), estimated at US$15,000 to 20,000, also draws inspiration from a violent comic book image, this time of a boot stepping on a hand reaching for a pistol. The work shows the development of the artist’s visual shorthand, which would define his work for the next 33 years. The sale also features superb examples of Lichtenstein’s later work, including his portrait of Lady Liberty, I Love Liberty (1982), estimated at US$35,000 to 45,000, and The Oval Office (1992), estimated at US$40,000 to 45,000.
    [Show full text]
  • How the Black Power Protest at the 1968 Olympics Killed Careers
    https://www.history.com/news/1968-mexico-city-olympics-black-power-protest-backlash UPDATED: OCT 19, 2018 ORIGINAL: FEB 22, 2018 How the Black Power Protest at the 1968 Olympics Killed Careers ERIN BLAKEMORE It’s an iconic image: Two athletes raise their fists on the Olympic podium. The photograph, taken after the 200 meter race at the 1968 Summer Olympics in Mexico City, turned African-American athletes Tommie Smith and John Carlos from track-and-field stars into the center of a roiling controversy over their raised-fist salute, a symbol of black power and the human rights movement at large. But look in the photo and you’ll see another man as well: silver medalist Peter Norman, a white Australian runner. Norman didn’t raise his fist that day, but he stood with Smith and Carlos. Though his show of solidarity ended up destroying Norman’s career, the three athletes’ actions that day would be just one in a line of protests on the athletic stage. 2 U.S. athletes Tommie Smith, center, and John Carlos raise gloved hands skyward during the playing of the Star Spangled Banner after Smith reCeived the gold and Carlos the bronze for the 200 meter run at the Summer Olympic Games in MexiCo City, 1968. AP Photo Smith and Carlos, who had won gold and bronze, respectively, agreed to use their medal wins as an opportunity to highlight the social issues roiling the United States at the time. Racial tensions were at a height, and the Civil Rights movement had given way to the Black Power movement.
    [Show full text]
  • Writing the Future: Basquiat and the Hip-Hop Generation, Museum of Fine Arts, Boston, Panorama: Journal of the Association of Historians of American Art 7, No
    ISSN: 2471-6839 Cite this article: Peter R. Kalb, review of Writing the Future: Basquiat and the Hip-Hop Generation, Museum of Fine Arts, Boston, Panorama: Journal of the Association of Historians of American Art 7, no. 1 (Spring 2021), doi.org/10.24926/24716839.11870. Writing the Future: Basquiat and the Hip-Hop Generation Curated by: Liz Munsell, The Lorraine and Alan Bressler Curator of Contemporary Art, and Greg Tate Exhibition schedule: Museum of Fine Arts, Boston, October 18, 2020–July 25, 2021 Exhibition catalogue: Liz Munsell and Greg Tate, eds., Writing the Future: Basquiat and the Hip-Hop Generation, exh. cat. Boston: Museum of Fine Arts, Boston, 2020. 199 pp.; 134 color illus. Cloth: $50.00 (ISBN: 9780878468713) Reviewed by: Peter R. Kalb, Cynthia L. and Theodore S. Berenson Chair of Contemporary Art, Department of Fine Arts, Brandeis University It may be argued that no artist has carried more weight for the art world’s reckoning with racial politics than Jean-Michel Basquiat (1960–1988). In the 1980s and 1990s, his work was enlisted to reflect on the Black experience and art history; in the 2000 and 2010s his work diversified, often single-handedly, galleries, museums, and art history surveys. Writing the Future: Basquiat and the Hip-Hop Generation attempts to share in these tasks. Basquiat’s artwork first appeared in lower Manhattan in exhibitions that poet and critic Rene Ricard explained, “made us accustomed to looking at art in a group, so much so that an exhibit of an individual’s work seems almost antisocial.”1 The earliest efforts to historicize the East Village art world shared this spirit of sociability.
    [Show full text]
  • The Japanese Collector Recently Set the Auction Record for Jean-Michel Basquiat—Twice
    AiA Art News-service MARKET THE 200 TOP COLLECTORS Maezawa’s World: The Japanese Collector Recently Set the Auction Record for Jean-Michel Basquiat—Twice BY Nate Freeman POSTED 09/11/17 11:50 PM 241 150 1 407 Yusaku Maezawa photographed in his home in Tokyo, 2017. ©KOHEY KANNO It was just after 8 p.m. on May 18, 2017, when a painting by Jean-Michel Basquiat sold for more than $110 million at Sotheby’s, blasting past the pre-sale estimate of $60 million. It set a new auction record for the artist and became the sixth most expensive artwork ever to sell at auction. The initial reaction in the salesroom was a collective gasp, followed by wild applause—and then, perhaps, some quick mental tabulations in the minds of collectors with Basquiats on their walls. Next, everyone started to wonder: who bought the damn thing? All was revealed within minutes, when Japanese collector Yusaku Maezawa posted an image to his lively Instagram account of himself standing in front of the untitled black-on-blue skull from 1982. “I am happy to announce that I just won this masterpiece,” he wrote in the caption. The purchase capped Maezawa’s lightning-fast shoot to the front of the global collecting rat race, and the folk story of the sky-high total soon became a crossover sensation. Once again, the world was talking about the American artist who died of a heroin overdose on Great Jones Street in 1988, when he was only 27 years old. An illustration of Yusaku Maezawa’s infamous Instagram post by Alexandra Compain-Tissier.
    [Show full text]
  • B18 Silent Auction Book-Final.Pdf
    Silent Auction Guidelines To place a bid, print your first and last name, your telephone number, and your bid amount. There is a minimum opening bid for each item. Bidding cannot start below the minimum. Each item has a mandated bid increase, listed on the bid sheet. Bid increases of less than the indicated amount are invalid. The silent auction will close at the beginning of the event program, at approximately 7:30 p.m. The person on the sheet with the highest valid bid at closing wins the item. Crossroads Fund Please do not bid on items once the auction has closed. Please do not remove any auction items from the display yourself. You can collect and pay for your items as soon as the auction closes, and after the event program. The silent auction check-out area is in the same room as the silent auction. We accept cash, personal checks, MasterCard, Visa, Discover and AMEX. Payment is due by 9:30 p.m. Silent Auction Item List If you are bidding on more than one item, please pay for all of your purchases at once. All sales are final, non-refundable, and items are sold as-is. Crossroads Fund makes no warranties. Crossroads Fund reserves the right to offer any item for which payment by the highest bidder has not been received by 9:30 p.m. to the next highest bidder at their bid price. Do your shopping tonight and support the Auction items typically expire March of 2019. Please refer to your items’ Crossroads Fund! You know you’ll use redeemable certificate for exact details.
    [Show full text]
  • Reading Jean-Michel Basquiat
    Art & Art History Faculty Works Art & Art History Fall 2005 Reading Jean-Michel Basquiat Damon Willick Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/artarhs_fac Part of the Art and Design Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Willick, Damon. "Reading Jean-Michel Basquiat," X-TRA Contemporary Art Quarterly 8.2 (Fall 2005): 48-51. This Article is brought to you for free and open access by the Art & Art History at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Art & Art History Faculty Works by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. REVIEW Damon Willick Reading Jean-Michael Basquiat Jean-Michel Basquiat Basquiat Museum of Contemporary Art, Los Angeles July 17–October 10, 2005 Organized by the Brooklyn Museum of Art March 11–June 5, 2005 Museum of Fine Arts, Houston November 18, 2005–February 12, 2006 Some of the largest crowds at the Jean- Michel Basquiat retrospective at Los Angeles’s Museum of Contemporary Art can be found in the museum’s basement reading room viewing Tamra Davis’s previously unreleased interview A Conversation with Jean- Michel Basquiat. The twenty- minute video is mesmerizing. Basquiat is charismatic, intelligent, and coy as he speaks on such issues as his childhood, feelings of alienation, and current art world success. Yet, when one listens closely to the interview, Basquiat deliberately obfuscates and exaggerates. As the artist admits at the outset of the interview, “I don’t think its good to be honest in interviews.
    [Show full text]